After the success of Carpe Diem! a Clarinet Concerto written in 1990 Kaipainen went on to write his Oboe Concerto in 1994. Carpe diem! exemplifies the increasingly Classical ideals espoused by Kaipainen over the years. He develops this strand even further in his 'Oboe Concerto' which is a much more restrained and balanced work in darker tones.The piece contains three movements the first of which combines elements of a traditional opening movement and scherzo. The slow movement is an affecting elegy. The finale consists mostly of quietly played perpetuum mobile figures interspersed with sudden dramatic passages.After the success of Carpe Diem! a Clarinet Concerto written in 1990 Kaipainen went on to write his Oboe Concerto in 1994. Carpe diem! exemplifies the increasingly Classical ideals espoused by Kaipainen over the years. He develops this strand even further in his 'Oboe Concerto' which is a much more restrained and balanced work in darker tones.The piece contains three movements the first of which combines elements of a traditional opening movement and scherzo. The slow movement is an affecting elegy. The finale consists mostly of quietly played perpetuum mobile figures interspersed with sudden dramatic passages.

A brilliant composition by Jouni Kaipainen completed in 1984 for Bass Clarinet in Bb and Piano accompaniment. Was commissioned by the Radio of Netherlands (NOS) and the Finnish Broadcasting Company. A brilliant composition by Jouni Kaipainen completed in 1984 for Bass Clarinet in Bb and Piano accompaniment. Was commissioned by the Radio of Netherlands (NOS) and the Finnish Broadcasting Company.

A setting texts by Sylvia Plath this 1988 work is for Soprano and Mezzo Soprano voices. Commissioned for the 1988 Huddersfield Contemporary Music Festival. A cycle of five duets the texts originate from Plath's novel The Bell Jar and from the poem Paralytic from the Ariel collection. A setting texts by Sylvia Plath this 1988 work is for Soprano and Mezzo Soprano voices. Commissioned for the 1988 Huddersfield Contemporary Music Festival. A cycle of five duets the texts originate from Plath's novel The Bell Jar and from the poem Paralytic from the Ariel collection.

Work for Soprano Violin and Guitar dating from 1983. Three songs to poems by John Donne (1573-1631). Work for Soprano Violin and Guitar dating from 1983. Three songs to poems by John Donne (1573-1631).

Work for Percussion Trio composed in 1990. Work for Percussion Trio composed in 1990.

Commissioned by the Finnish National Opera. Part 6 of the work 'Maa' for Harp with optional Electronics.

The word GONG is saturated with associations: the splendour of the Orient mysticism drama loud metallic clangour violent impact etc. The present piece draws upon all those connotations but it is primarily a symphonic drama about the life and behaviour of the sun our closest star and prime source of life on Earth. Describing the sun in music is not a new idea of course: during a visit to Greece Carl Nielsen was inspired by the orbit of the sun and its very un-Danish ferocity and thus wrote the Helios Overture. GONG is a Helios Overture too of sorts albeit more abstract. Recent astronomical research shows that the surface of the sun reverberates like a gong infour different simultaneous tempi (not directly depicted in the score though): the sun looks like a GONG - the O in the written work looks like the sun: there is even a solar research group called GONG (Global Oscillation Network Group). Formally the composition follows the life and fate of the sun from the initial explotional birth through the hyper-activity as energy source as we know it today to the final predicted flaring up and collapse into a so-called white dwarf. But - being a musical composition not an astrophysical thesis - GONG is brought to its compositional conclusion by a real concert-ending a chord taken from the middle of the piece and sustained over several bars from virtual nothingness to full force. The word GONG is saturated with associations: the splendour of the Orient mysticism drama loud metallic clangour violent impact etc. The present piece draws upon all those connotations but it is primarily a symphonic drama about the life and behaviour of the sun our closest star and prime source of life on Earth. Describing the sun in music is not a new idea of course; during a visit to Greece Carl Nielsen was inspired by the orbit of the sun and its very un-Danish ferocity and thus wrote the 'Helios Overture'. GONG is a 'Helios Overture' too of sorts albeit more abstract. Recent astronomical research shows that the surface of the sun reverberates like a gong infour different simultaneous tempi (not directly depicted in the score though); the sun looks like a GONG - the O in the written work looks like the sun; there is even a solar research group called GONG (Global Oscillation Network Group). Formally the composition follows the life and fate of the sun from the initial explotional birth through the hyper-activity as energy source as we know it today to the final predicted flaring up and collapse into a so-called 'white dwarf'. But - being a musical composition not an astrophysical thesis - GONG is brought to its compositional conclusion by a 'real concert-ending' a chord taken from the middle of the piece and sustained over several bars from virtual nothingness to full force.

Wenn Die Rose Sich Selbst Schmuckt Schmuckt Sie Auch Den Garten (When The Rose Beautifies Itself It Beautifies The Garden ) was composed by Per Norgard in 1971. Chamber Cantata for four performers Scored for Soprano Alto Flute Double Bass and Percussion (all playing also Crotales). Composed for and dedicated to Dorothy Dorrow. Parts available: KP01092 Preface / Programme Note The title of the work is borrowed from a fragment by the German poet Friedrich Ruckert. This fragment this short sentence (which Ruckert apparently neverelaborated upon) is the entire basis of the work. I was inspired by the meaning as well as the sound of these words. I perceive the meaning of the sentence as being a defence for the refinement of an individual's personal gifts - far from the present hostility toward individuality and the senseless praise of impersonal success in society. Personal refinement can so the fragment in my interpretation at its best be accompanied by a deep sense of responsibility and become an active and positive influence in society. The sound the timbre of the individual words and characters is employed both in straightforward text-sequences as well as in the exploration of individual vowels and consonants as pure sounds. The soprano is often used purely instrumentally echoing and pre-echoing discreetly the notes of the flute and the harmonics of the double bass often imperceptably stealing their notes and altering them into human sounds which then yet again are absorbed into the instrumental tapestry. Per Norgard 1971

4 Scores+CD-Work for Bass Clarinet (Contra-Bass Clarinet) Percussion Cello and Live Electronics. Commissioned by the Jyväskylä Arts Festival. Four player's scores and CD. Work for Bass Clarinet (Contra-Bass Clarinet) Percussion Cello and Live Electronics. Commissioned by the Jyväskylä Arts Festival. Four player's scores and CD.

Score available: KP30120 The composer writes: The slow choral-like music which initiates Adieu was the result of an image or almost a dream that I had. Without being able to explain why I imagined a procession of people maybe medieval munks wearing large gray mantles with Ku-Klux-Klan-like white cowls on their heads something like a funeral procession. The title Adieu is partly a comment on this funeral procession but also used because the piece is split up by three slow-ascending glissandi a kind of farewell glissandi which removes the intervening music. The first absorbing glissando is soft and removes both the slow funeral choral and the agitating figures in the firsthalf of the piece. The second glissando is given only to the cello and crawls out from the elegiac melodies in the middle part. The third and final glissando is intense and agitating and prepares the way for the end of the piece. This end primarily deals with the relationship fast - slow. This relationship is turned topsy turvy: the music gets faster and faster until it is so fast that it suddenly becomes slow so slow in fact that it is very quickly able to become extremely fast again. Score available: KP30120 The composer writes: The slow choral-like music which initiates 'Adieu' was the result of an image or almost a dream that I had. Without being able to explain why I imagined a procession of people maybe medieval munks wearing large gray mantles with Ku-Klux-Klan-like white cowls on their heads something like a funeral procession. The title Adieu is partly a comment on this funeral procession but also used because the piece is split up by three slow-ascending glissandi a kind of 'farewell glissandi' which removes the intervening music. The first absorbing glissando is soft and removes both the slow funeral choral and the agitating figures inthe first half of the piece. The second glissando is given only to the cello and crawls out from the elegiac melodies in the middle part. The third and 'final' glissando is intense and agitating and prepares the way for the end of the piece. This end primarily deals with the relationship fast - slow. This relationship is turned topsy turvy: the music gets faster and faster until it is so fast that it suddenly becomes slow so slow in fact that it is very quickly able to become extremely fast again.

This piece is part of a trilogy of compositions from Poul Ruders all dealing with Latin American rhythms and percussion instruments. The red-thread rhythm of this piece is that of the classic cuban Cha-Cha-Cha but otherwise the piece can be considered a veritable merry-go-round of exciting Latin American rhythm patterns - Sambas Baiao Calypso Mambo and so on. This piece is part of a trilogy of compositions from Poul Ruders all dealing with Latin American rhythms and percussion instruments. The red-thread rhythm of this piece is that of the classic cuban Cha-Cha-Cha but otherwise the piece can be considered a veritable merry-go-round of exciting Latin American rhythm patterns - Sambas Baiao Calypso Mambo and so on.

Sancta Maria by Bjarne Hersbo scored for Soprano Voice and Organ. Sancta Maria by Bjarne Hersbo scored for Soprano Voice and Organ.

Organ-Visby Orgelbok 12 pieces for Organ by Peter Møller. Visby Orgelbok 12 pieces for Organ by Peter Møller.

Jermiins Viser 4 59 songs by Mogens Jermiin Nissen with lyrics by Halfdan Rasmussen. Arranged for Voice and Piano/Chords. Jermiins Viser 4 59 songs by Mogens Jermiin Nissen with lyrics by Halfdan Rasmussen. Arranged for Voice and Piano/Chords.

Violin-Vi Spiller Violin 1 is a Violin tutor for beginners by Carl-Bertil Agnestig . Vi Spiller Violin 1 is a Violin tutor for beginners by Carl-Bertil Agnestig .

Overture to the Comic Opera 'Maskerade' written 1904-06. Overture to the Comic Opera 'Maskerade' written 1904-06.

For Medium Voice and Piano. Text: Frans Michael Franzén For Medium Voice and Piano. Text: Frans Michael Franzén

Scala Revyen 1924 - Regnbuen . Music by Emil Reesen Kai Normann-Andersen Laurits Howalt and C. Rydahl . Text by Carl Arctander Ludvig Brandstrup and Alfred Kjerulf. Scala Revyen 1924 - Regnbuen . Music by Emil Reesen Kai Normann-Andersen Laurits Howalt and C. Rydahl . Text by Carl Arctander Ludvig Brandstrup and Alfred Kjerulf.

Work for Violin and Chamber Orchestra here in Violin with Piano reduction dating from 1914. Work for Violin and Chamber Orchestra here in Violin with Piano reduction dating from 1914.

Work for Solo Piano dating from 1917. Work for Solo Piano dating from 1917.